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About Paul

Portrait of Paul Liptrot Artist

Paul Liptrot Artist Statement - from materials to connections

My Artist Statement outlines how I approach my practice from the moment I discover a material to finding innovative ways of pushing it to create beguiling objects and artefacts, which I can use to create connections with those viewing my work.

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I'm a visual artist working with a range of materials from plaster and clay, through to latex, ice and oil, which allow me to create ambiguous objects and images. My practice can be broken into two key elements, firstly materials and their unique properties, and secondly how this translates into conversations with the people viewing the work.

My practice begins out of a scientific curiosity and I look for materials that intrigue. I need to be able to feel a material, whether physically or mentally; to become involved in what it represents to me and how it can be transformed into something beyond our expectations.

My creative side emerges when I use the material for the first time, putting in colour, chemicals, light or myself in some way. Those first seconds when a reaction begins and I have given up control captivates me. I allow the material to take over and begin speaking to me. Seeing how the different elements amalgamate or repel each other immerses me totally. The most rewarding materials are those that push back, simultaneously asserting themselves and yet allowing me to lead.

So for me, the scientific and creative merge, forming a tension between chaos and order which is constantly evolving, sometimes with rules and others with complete freedom, but each enabling me to learn the language of the material.

My scientific process is inspired by the natural world and the patterns and universality of the forms and structures that control how things fit. I'm equally excited by the physical landscape and with the unseen, the potency of sensing ones place amongst a myriad of other things enthralls me.

I create intentionally abstract pieces, which enable me to then develop a relationship with those viewing my work. Watching as someone reacts to an unseen entity that they have sensed in my work creates a conversation about who and what each person is and what they believe. I'm fascinated by the uniqueness of each person based on their own history, geography and experiences. This diversity gives rise to untold interactions which drive me to further understand the affect that I can create with the work I produce and how it is presented.

My practice has gradually evolved to the point that the material investigation is a vehicle with which I can create installations and experiences that put the viewer at the centre of the work. My recent installation Empyrean at the 2018 Lady Bay Arts Festival in Nottingham has ignited my desire to create larger and more complex places of sanctuary. They will use multiple petri dishes filled with coloured, transparent latex embedded in structures with light and sound. These immersive spaces put the viewer in the centre of their own 'world', disconnected from their surroundings and able to find their own sense of sanctuary. A comment by Mark Rodel, Vicar at All Hallows' Church says it best; "There was a lively energy to the experience and yet simultaneously it was a calming space"

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